<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>In 2015, the Norwegian Broadcasting Corporation (NRK) released a new youth series, Skam, which was acclaimed for its accurate portrayal of Norwegian teenagers but, above all, for its distribution as a transmedia narrative spreading content across several platforms. Through focus-group interviews, this article investigates how Swedish Skam viewers took part in the content and perceived the role and relation between the platforms. While the interviewees followed Skam in different ways, they nevertheless accepted and appreciated the transmedia format. While they argued that the core content needed to be video based, other content was also seen as a natural part of the series and essential in building the narrative. Furthermore, the idea of contemporary media consumption as being less constrained by time and space was partly contradicted. Especially real-time content and discussions with peers motivated the participants to abide by a new kind of TV schedule, reminiscent of TV viewing practices of the past.</p>
</abstract>

In 2015, the Norwegian Broadcasting Corporation (NRK) released a new youth series, Skam, which was acclaimed for its accurate portrayal of Norwegian teenagers but, above all, for its distribution as a transmedia narrative spreading content across several platforms. Through focus-group interviews, this article investigates how Swedish Skam viewers took part in the content and perceived the role and relation between the platforms. While the interviewees followed Skam in different ways, they nevertheless accepted and appreciated the transmedia format. While they argued that the core content needed to be video based, other content was also seen as a natural part of the series and essential in building the narrative. Furthermore, the idea of contemporary media consumption as being less constrained by time and space was partly contradicted. Especially real-time content and discussions with peers motivated the participants to abide by a new kind of TV schedule, reminiscent of TV viewing practices of the past.

Combining New and Old Viewing Practices: Uses and Experiences of the Transmedia Series “Skam”

Department of Journalism, Media and Communication

Nordicom Review

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

In 2015, the Norwegian Broadcasting Corporation (NRK) released a new youth series, Skam, which was acclaimed for its accurate portrayal of Norwegian teenagers...

Combining New and Old Viewing Practices: Uses and Experiences of the Transmedia Series “Skam”

Publié en ligne: 31 déc. 2018

Pages: 63 - 77

DOI: https://doi.org/10.2478/nor-2018-0012

Mots clés
TV, media convergence, audience reception, viewing practices, youth

© 2018 Emelie Bengtsson et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Combining New and Old Viewing Practices: Uses and Experiences of the Transmedia Series “Skam”

Publié en ligne: 31 déc. 2018

Pages: 63 - 77

DOI: https://doi.org/10.2478/nor-2018-0012

Mots clésTV, media convergence, audience reception, viewing practices, youth

© 2018 Emelie Bengtsson et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Mots clés
TV, media convergence, audience reception, viewing practices, youth